Each episode brings a sense of foreboding, making viewing sometimes uncomfortable. And Moss, well, she captivates as the heroine with the odds stacked against her. This one is must-see television.

There are times when the dialogue is rough and doesn’t flow quite right, but not enough to overshadow the humor. Ansari has a gem of a show here.

The wide-eyed Ahmed is perfect as the naive young man who can’t seem to make a right decision. That is until he agrees to let Turturro’s Jack Stone help him. And Turturro hits the right notes as the cynical attorney who has his work cut out for him.

Atlanta is deep, even a tad dark, and refreshingly different from the screwball wackiness of “Community.”

The performances, especially Gooding’s and Travolta’s, are over the top, but, heck, so were the real-life events. Gooding and Travolta show just how sensational the whole thing was. The trial captured a nation’s imagination, and, more than 20 years later, it still does.

It’s stark, harsh and sometimes difficult to watch. It’s also some of the best-made television, dramatizing real-life issues that are as eye-opening as a slap across the face.

McGregor’s portrayals, especially when the brothers share the screen, are astonishing, reminding me of Emmy winner Tatiana Maslany’s multiple-role performances in “Orphan Black.” Winstead and Coon are noteworthy, too.

The drama is quite riveting.

The pilot is a trip, with Thornton’s character leaving four bodies in his wake--three of whom he dispatched himself. Each meets his end in an unusual, dramatic and somewhat humorous fashion. It’s just the kind of thing you’d expect from a Coen brothers' product.

These episodes will stick with you long after watching them.

National Treasure is an uncomfortable, but compelling watch.

While the first episode lacks development of any of the characters outside of Kunta Kinte, a young man taken from Africa and sold into slavery in the United States, it still resonates. It’s a story that needs to be told again.

The third season picks up right where the the other two left off, with more suspenseful tales “exploring themes of contemporary techno paranoia.”

The series is visually arresting, with brightly colored clothes that seem to have come right out of closets from the 1970s. It adds to the series’ trippiness. Legion is not mainstream like Stevens’ “Downton Abbey,” most likely catering to sci fi and comic book fans instead.

While Geere and Cash are razor sharp, the supporting cast are just as entertaining, if not more so.

This is just pure camp. This is what Murphy does best. Get out the popcorn.

A thoroughly entertaining early summer revelation.

The draw here is watching how unraveling the mystery results in Dory finding herself and taking charge of her life. She just needed a little prompting.

I wanted more about Bradlee and Graham’s relationship, but that’s my only real complaint. The documentary opened up other windows into the fabled man for me.

Aldon is a hoot. Her character Sam is rough around the edges, which makes her extremely relatable. The series hits its stride in episode two when Sam speaks at her middle daughter’s school about female empowerment.

The main storyline involves a nefarious crime lord, played by Marvin “Krondon” Jones III, whose gang, The 100, is terrifying the city, but it's Black Lightning’s journey into social issues--the character quotes Martin Luther King Jr. at one point in the premiere--that separates him from the rest of the superhero pack.

These shows are character studies. They are methodical and well-orchestrated. Both are a joy to watch and savor.

Just as Gilligan routinely did with “Breaking Bad,” the first episode ends with a cliffhanger of sorts, and another pleasant surprise. It’ll make you wish 9 p.m. Monday comes quickly.

This is the best new show of the summer.

UnREAL is way over-the-top and trashy, but in an entertaining way.

Viewers unfamiliar with Gaiman’s novel may have trouble following the TV series. The story contains lots of sides and flashbacks. But stick with it. The payoff is there. This is Starz’s most ambitious and satisfying offering yet.

This is one you will want to binge-watch. It’s a thrill ride from the onset.

The series is fun, scary and a perfect tribute to the era, including the spot-on hairdos and clothes.

Pulling it all together is the cast. Cooper is fierce and weathered, Negga is spunky smart and Gilgun is just a joy to watch and hear, with that thick Irish accent of his.

Creator/executive producer Drew Goddard (“Cabin in the Woods”) serves up a dark, edgy, violent and, at times, gruesome series that has some teeth to it.

For those of us 40 and older, it’s a bit of a hoot watching Foster navigate these waters, from learning how to use Twitter to deciphering texts IRL (in real life) to explaining away those crow’s feet, among other things that aren’t mentionable in a family newspaper. But it’s the personal relationships--with the hunky Tortorella and with Duff--that hold the most interest here.

Big Little Lies is a slow burn. The joy is watching Witherspoon, Kidman and Woodley really working Kelley’s scripts, especially Witherspoon, who just commands the small screen with her abilities.

Bloodline unfolds like a good novel. It’s so well acted, that like a good book, it’s hard to stay away from it

Like “Mars,” part of iZombie’s appeal is the banter among the characters.

The drama starts a little slow as we’re introduced to Hap, Leonard and Trudy, but once Trudy recruits the men to help her, the show kicks into gear. The fun becomes watching the two men make the most of the bad situations that seem to befall them.

This one’s super funny, especially the scenes featuring Winters and Duhamel together. Talk about chemistry.

It has the look and feel of a sweeping “Game of Thrones” kind of epic filled with romance, intrigue and violence.

The pilot's humor is juvenile, including a bunch of toilet references, although I did laugh at the baby pool turned into a large margarita. Things pick up in episode two, but not by much.

The comedy, and there’s a bunch of it, comes from the support group members--as you can imagine, nobody believes their stories--and the aliens, who generate some very, very funny and spot-on workplace humor in a spaceship setting.

What del Toro, Hogan and Cuse are extremely good at here is suspense and horror.

The film editing is a bit clunky, with the camera sometimes lingering too long on actors after a scene has concluded, making the transitions a little rough. But the story’s there.

Bosch’s dialogue is clunky at times, especially in scenes involving Bosch and his superiors. They look like somebody scolding a puppy and are hard to take very seriously. But the story is compelling.

The Sinner is a procedural. But unlike most others that are obsessed with the “who,” this gets at the “why.” Talk about intriguing.

[Bobby Cannavale's] performance is something to behold. Music, not surprisingly, is the driving force here, used creatively and effectively in scene transitions, as scene setters and in performances.

What makes Penny click is the chemistry among the characters, especially the psychic and the gunslinger, who end up seducing the viewer with their seductive encounters. They make you forget this is an action show

The good news is the limited series is just as entertaining.

This one’s preachy, overly dramatic and everything you would expect from a show like this.

The series is an examination of wealth-and-power politics, with Lewis and Giamatti playing their roles devilishly well, with an emphasis on the devil part. It’s juicy good fun.

Like “Lost,” you’ll be left with more questions than answers by pilot’s end.... Should be a fun ride.

It's a ho-hum procedural with a new story each week, but I like how the series strives for authenticity in setting and costumes.

The thrill comes not from the actual computer building, but the people doing the building. These characters are complex and well-developed, especially Pace’s fiery exec, who is a mesmerizing manipulator.

Burns gives us a good old-fashioned crime tale, just the kind of thing we need to end our summer.

Give me a little more music and a little less soap opera, and we may have something here.

Gaffigan is a master of self-deprecation, and the jokes here, at his expense, come fast and furious. The banter between Gaffigan and the supporting characters is extremely well orchestrated.

The Detour is sharply written--Jones and Bee co-wrote the pilot--and uses flashbacks to help progress storylines. It’s dark at times, and, at other times completely and hilariously over the top.

Absurd is the best way to describe the Zach Galifianakis-fronted comedy, like absurdly funny, the way “Portlandia” is on IFC.

This is just a straightforward whodunit--a summer escape.

Of course, the first episode will leave you with more questions--which will make the drama one of the most compelling (or maddening) of the summer. Berry’s character drives the story. The Oscar winner is a good choice for the role.

Once the novelty of Riverdale--seeing who is portraying each character and how each is written--wears off, Berlanti and crew hopes the mystery will keep you coming back. The trouble is the kids are so off-putting, you won’t care who committed the crime.

What Cuse and Tucker have done best is maintain the eerie tone and feel from the original.

The story is an edge-of-your-seat kind of thriller. Clues are dropped, but you never know what’s coming next.

Taboo, like “Fargo” before it, is an original, highly imaginative series from FX. Here, the Hardys and Knight blend a tale of intrigue set against the supernatural. The drama is eerie, even haunting.

The humor is a combination of sight gags, slapstick and wordplay. And, again, nobody does it better than Lithgow in all three phases.

Sometimes it’s funny, but most of the time it’s just bizarre.

Netflix has been hit (“Master of None”) and miss (“The Ranch”) with its comedies. This one falls in the former category, and will leave you “hungry” for more episodes.

Shots Fired tends to get preachy--watch for James’ speech in front of news TV cameras in the pilot that really sets the show in motion--but it sheds a bright light on what’s been playing across newspaper pages.

It’s the kind of show that sits with you long after it’s over.

Unlike the previous six seasons, there is no supernatural element to this one. It’s just people being unsavory people, which is scary enough.

It’s more interested in whether she gets away with [killing people]--the “B” story is about an undercover cop trying to catch the doctor in the act.

The pilot ends with a big reveal (and more mystery), kicking off what is shaping up to be some great summer escapism.

Viewers will get a kick out of how each character is portrayed from what we know today about them from history texts and biographies. Samuel Adams likes his beer, Benjamin Franklin his women and John Hancock his money.

Oh my goodness is this one filled with testosterone, reminding me a bit of FX’s “Sons of Anarchy.” ... Watch for Shawn Hatosy (“Southland”). He's creepy good as the whacko son with a mean streak.

Johnson, in a non-action role for a change, is surprisingly good, offering up a multi-dimensional character.

In a word, the show is eye-opening, and it’s easy to see why people are talking about it.

The humor results from its realism and the blossoming relationship between father and son. Here's hoping this one sticks around.

Not only is Raines a crook, but she’s an alcoholic and an addict. It takes some getting used to seeing Dockery in this role. Botto, though, is perfect, suave and sinister as the hitman.

Because it’s so dark, and all the characters--like the teenage daughter--are destructive, it comes off as extremely depressing, even difficult to watch.

In “Fargo,” Thornton’s character was pure evil, but in Goliath he's just flawed--despicable at times, but with a good heart that shows often as he pursues justice against his old law firm and partner. This one’s quite bingeworthy.

Sassy and fun.

This is over-the-top. And extremely fun. And here’s hoping Wyle recurs often.

The humor is low-brow and juvenile.

Chance is paced extremely well, building with tension from the outset. It’ll hook you, then surprise you.

This one has promise because it’s not formulaic. I have no idea where it’s headed, which is kind of nice for a change.

Sounding like an old married couple, the interplay between the two is, at times, bitingly and laugh-out-loud funny. But it also becomes tedious.

A little over the top--well, actually, a lot over the top--the pilot is filled with one eye-rolling surprise after another.

Created by Craig Pearce, the series is brash and vibrant, driven by punk rock. It makes the Oscar-winning “Shakespeare in Love” look tame in comparison.

While Longoria is the draw, her supporting cast is just as entertaining, including Jeancarlos Canela as her ex-husband, Amaury Nolasco as the soap’s villain, Diana-Maria Riva as Ana’s best friend and Alex Meneses as Ana’s nemesis.

The trouble is they are just normal--and not very funny.

The laughs, as you can imagine, are few and far between -- what with that death hanging over the comics, who come off as some of the unhappiest, bitter and jealous people ever. ... [Michael Angarano and Clark Duke] play two penniless and naive comics from Boston who come to L.A. seeking fame and fortune. They are funny. I wanted to see more them (and their story) and less of everyone else.

Outside the courtroom is where the drama finds its feet.

It’s difficult to like or root for any of the four, making this one difficult watch. Still, creator and writer Nic Pizzolatto has a knack for storytelling and character development. Especially intriguing is Farrell.

The first hour is confusing and the acting a bit forced, so it may try your patience.

If you can get past the sermonizing, there maybe a story worth seeing here.

It’s creepy, especially when the children talk to the unseen Drill.

The comedy is “Rescue Me”-like, but lighter, with less angst.

The Kings’ clever summer horror thriller.

Turn is a heart-racer at times. That’s the sign of a thriller done well.

This one’s worth watching for Richard Dreyfus’ performance as the scheming con man, Bernie Madoff.